[專訪] 告示牌/John Frusciante Q&A('13/8/19)

看板RHCPs作者nosweating (反骨)時間11年前 (2013/08/20 22:44)推噓3(3推 0噓 5→)

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熱騰騰的John專訪啊！潛水這麼久的John終於稍微探出頭了！這次告示牌針對John近幾年來的曲風轉變，離團的源起，以及未來的打算做了報導。不少樂迷看了覺得有些傷感，因為John顯然不想重作馮婦。 http://0rz.tw/aJ7wb 原文與大意簡單提示如下 John Frusciante Q&A: On His Electronic Evolution and Why He's Done With Rock Bands By Patrick Flanary In an exclusive interview, Frusciante talks about his new EP of abstract electronic music, why he left the Chili Peppers and the "funnest musical collaboration I've ever had with anybody in my life" 獨家專訪JF關於他的新單曲，他為何提開紅椒，以及"我這輩子覺得最有趣的音樂合作" Guitarist John Frusciante, absent from the stage since quitting Red Hot Chili Peppers five years ago, has since adopted drum machines, synthesizers and a computer as his main instruments. JF身為一名吉他手，離開紅椒後，已經有五年未曾出現在舞台上。如今他已經對各式合成器以及電腦特效十分上手。 Today his creations are confined to his living room, where Frusciante experiments with and engineers what he calls Progressive Synth Pop. "Outsides," a 20-minute EP of abstract electronic music due Aug. 27, consists of self-described "out" pieces that underscore a departure from traditional rock and public expectation. "I needed to specifically make music that I know wouldn’t sell in order to learn things," Frusciante told Billboard during an exclusive, hour-long telephone conversation in late July. "And I’m gonna keep doing that for the rest of my life." JF的最新合成流行樂單曲"Outsides"是在自家的客廳中完成的。他表示，他需要特地去做一種，不用透過銷售而去學習的音樂，而接下來的人生，他會持續這樣做下去。 Frusciante explained his years of education and growth as a solo musician since leaving the band dynamic—and why he’ll never go back. "When it comes down to it I probably have a lot more in common with old classical composers from the 1700s than I do with the rock stars of today," he said. "I don't even think of the guitar in the same way anymore. I’ve learned to think more like a pianist, where I have a wider view of music." That view has recently opened another door for Frusciante, as album producer for the Wu-Tang Clan-affiliated hip-hop group Black Knights. Their first collaboration, "The Medieval Chamber," will release on indie label Record Collection in December. These are excerpts from the interview: Billboard: "Outsides" begins with a song that includes a 10-minute guitar solo. Is that the longest solo on record that you know of? "Outsides"這張單曲以一首長達十分鐘的吉他solo開始，這是你所知最長的solo嗎？ John Frusciante: Oh, no, no. Frank Zappa took quite a few extended solos around that length. Yeah, and Jimi Hendrix also did. If you listen to live recordings of Jimi Hendrix, a song like "Machine Gun" usually has a 10-minute solo quite often. 當然不是！Frank Zappa、Jimi Hendrix都有做過，十分鐘長的solo其實蠻普遍的。 Do guitar solos require any sort of structure, or even practice? 做一段吉他solo需要特定的結構，或是練習嗎？ Especially in the case of this one, it reflects the music, you know? I mean, any guitar solo should reflect the music that it’s soloing over and not just be existing in its own sort of little world. But that’s what a lot of people who in the Seventies played extended solos, they would just kind of get lost in their own world, and so they became what I would consider to be a kind of a lazy area for guitar players. But in this one it’s reflective of the song, which is something that Frank Zappa wasn’t doing with his extended solos, because he would depart from the song and have a very simple section that he could easily solo over without having to think about too much other than his own playing. And I’ve studied these solos my whole life, I love them, but I see the difference between them and a song. I think a solo moves forward the way a song does, because it’s reflective of the chords that I’m considering as I’m soloing, and at the same time I’m going as much out on a limb as Frank Zappa used to, in terms of just going crazy on the instrument. 這次這段需要，因為它反映了音樂本身。我想說的是，任何solo都該反映音樂，而不該只是獨自窩在象牙塔。但七零年代許多人創作的加長solo卻都是如此，在我感覺這樣是有點懶惰的行為。但這次這首solo則與歌曲相互輝映，這是Frank Zappa在他的加長solo所沒有的。因為他會跳脫出歌曲本身，加入一個可以輕易solo的簡單段落，而不去思考是否適切。我研究這些solo太久了，我愛他們，但我可以分辨其中的不同。我認為solo應該是歌曲行進的延伸，當我在solo時我所想的就是要與那些和弦輝映。 Yet you’ve taken on additional instruments, and you also record your music at home. 你挑戰不少額外的樂器，你是在自家錄製你的音樂嗎？ For me, living and making music, they’re one thing. It’s not like a job that I go to a studio to do, or a chore that I have to get myself in the mood to do, or something. It’s the thing that I need to do every day. I got good advice from a manager a long time ago, suggesting that instead of spending money on recording budgets that I get my own studio. And he sure was right. [...] Progressive rock was a style of music that began with The Beatles, where they started incorporating aspects of jazz and aspects of classical music and aspects of music from other cultures into rock music, and it became apparent that rock music was a malleable form of music, like on the second side of “Abbey Road,” where every song is connected to the next one. And bands like Genesis and King Crimson and Yes were basically, for me, carrying on what The Beatles had started, by challenging tradition, basically, and challenging the general way that things were done. So I really admired what those bands did my whole life, and that really wasn’t a part of what I did when I was in the band. We didn’t do 15-minute songs or stray away from traditional formulas too much. And synthpop for me is just rock music made with synthesizers and drum machines. Really, my instrument now is the entire mix of instruments. 對我而言，活在音樂與做音樂是同一件事。它不是我必須要去錄音室完成的工作，或是必須反映我的心情的和絃等等。這是我每天都會做的事。一個經理人過去就建議我，與其把錢花在錄音預算上，不如弄個自己的錄音室。而他是對的。披頭四開啟的搖滾樂的革命開端，他們在搖滾中融合了各種音樂類型，讓搖滾樂的成為一種可塑性極大的音樂類型。他們挑戰傳統、常理與常規對此我十分崇敬，但我在樂團中時卻無法如此做。我們沒辦法做一首15分鐘長的歌，或是偏離固定準則太遠。合成流行樂(synthpop)對我而言就是用合成器創作的搖滾樂。真的，我現在使用的樂器就是一堆樂器的混合體。 You play so many. Have any ever intimidated you? 你做音樂做了這麼久，你曾經感受到恐懼過嗎？ I bought a clarinet, and I wanted to learn how to play that but it interfered with my singing. And I think there would be a time period if I learned it where it would make my throat tense, at least briefly, until I learned how to breathe properly. So yeah, I’ve had this clarinet sitting around for, like, a year and haven’t learned it. You know, that’s the beauty of the technology of sampling: You can play any instrument or any combination of instruments. You basically have the history of recorded music to play as your instrument. And I’m pretty adept at that. So there’s really no need to learn how to play other instruments since I can do that. 我買了一隻單簧管，我想學怎麼吹，但這又會干擾我唱歌。而我想應該會有一段時間，在我學吹單簧管的時候會讓我的喉嚨緊縮，直到我學會怎麼換氣呼吸。所以，是的，我買了這支單簧管一年了，還是沒學會。所以你知道，這就是'樣本科技(?)美妙的地方：你可以演奏各種樂器，或是樂器的合體。而你又擁有創作音樂的基礎。我就挺能上手的。所以也就沒必要再去學其他樂器，既然我已經可以創造出它。 How does selling your music through a platform like Topspin differ from having the backing of major labels and distributors? 在獨立的平台上銷售你的音樂，與附屬在一個大型唱片公司之下之間有何不同？ In this environment of music and the way that it’s being consumed today, I think we’re seeing the ill effects of business-minded thinking being applied to artists, and artists learning to think more like businessmen and more like celebrities than musicians. So luckily I removed myself from that world, and every day for the last five years or so I’ve thought specifically about new places to go and finding new challenges for myself. And part of that meant that I spent about three years making music that I had absolutely no intention to release. [...] These have been the most helpful things to my music growth. When you get in a band, especially a band that’s popular, you don’t even realize that you’re doing it because it’s so natural to do, but you basically stick to proven formulas and things that have proven themselves able to sell to people. And by doing that very little growth takes place over a period of years. Whereas I feel like a completely different musician now than I was five years ago, with a completely different range of things that I can do and things that I’m good at. There would be no chance to get good at those kind of things in the environment that I was in as a popular rock musician, in this day and age. 現在的音樂環境逐漸蕭條，我想我們正經歷商業行為的惡果，藝術家們現在更像生意人與名流而非音樂人。所以我很幸運離開了這個環境，並且在新的領域發掘新的挑戰。我之前花了三年做音樂，但我一點也不想發行。如此確實幫助了我的音樂成長。當你在一個相當受歡迎的樂團中，你不會覺得自己的創作目的有問題，因為在那個氛圍下是很自然的，但基本上你還是陷入在一個重複驗證可以讓唱片大賣的慣例裡。數年下來，你所能成長與突破的空間是有限的。因此我覺得我現在是完全不一樣的音樂人，有了全新的視野，我可以做不同的事，我也十分熟手。這是在我身為一個熱門搖滾樂手時所做不到的。 When did it hit you that you were no longer flourishing creatively within the band dynamic? 你什麼時候開始覺得樂團的活力無法再促進你的創造力了？ Well, as I said, I had always wanted to do electronic music and I had only dabbled in it throughout the 10 years or whatever it was that I was in the band after rejoining [in 1998]. And it’s one of those things like anything else that you have to do it every day for years to get good at it. And so it was always something that I wanted to do but we were so well-received as a band that it didn’t really occur to me to quit until Flea came to me at one point and said, “I want to take a two-year break after this tour.” And he said that to me about halfway through the [2007 “Stadium Arcadium”] tour, and when he said it I was kind of shocked, 'cause I thought we were on a roll, let’s just keep moving with this, you know? But once he said it to me, my mind started thinking, "What would I do with that two years if I had two years to just do whatever I wanted?" And by about four months later I was so excited about quitting the band I didn’t even want it to be a two-year thing anymore. I just knew that I didn’t ever want to be in the band again, you know? And I didn’t actually quit until several months after we were already on the break, but I knew I wanted to quit months before the tour was over. I was determined to. Because there were so many electronic musicians who I loved what they did, and I knew that musically I had grasped an understanding of it from learning it on my guitar. 就像我所說的，我一直很想做電子音樂，在我重回樂團前，我只短暫的接觸了十年。這是我唯一想要每天都做，而且要讓自己在其精進的事情之一。這是我一直想要去做的事，但我們實在太受歡迎，其實我還沒真的想到要辭職，直到Flea有一天對我說： "我想在SA巡迴結束後休息兩年。" 我當下其實有吃驚，因為我們還在巡迴耶，至少等我們演出完吧！？你知道的。 (編按：哈哈，這段很可愛。因為在John第一次離團時，當時紅椒正在日本巡迴，而Flea就曾提到當他聽到John這樣說時，他只覺得"這小子搞什麼？我們正在巡迴耶！" XD) 但經他這麼一提，我就開始思考： "如果我有兩年的假期，我就可以全心去做我想做的事了？" 大概四個月後，我就想著要辭職了，我不要那只是兩年的事情而已，我開始明白我不想再繼續創作樂團音樂。但我當時並沒有真的辭去，直到數個月後我們結束全部的巡迴。 (編按：這段也很感人，因為John第一次中離時，可是說不幹就立刻閃人了XD 長大了呢！Johnny boy) But I also knew that until I learned how to program the old machines that Roland made from the early Eighties that I wasn’t going to be able to actually create the music involving the musical principles that were inherent in what those people were doing. So in the middle of that tour I got a TB-303 machine and carried that around from hotel room to hotel room, and I got a TR-606 drum machine and I carried that from hotel room to hotel room. It was a whole new way of thinking, it was a whole new way of creating music, and it was like going to music school in a lot of ways because it caused me to start considering music from a completely different angle. Which for a long time, I guess for about a year, was a strain in various ways, but as soon as I became comfortable, once the tour was over, I started setting it up where I could program a bunch of machines all at once. It didn’t at all at that point have the complexity of what I could do, say, with a guitar or what I could do with other people. I didn’t care. I was happy to do the simplest little Acid track and just be able to play with the knobs on the machine. I was just so happy to be doing something that had no connection to the habits that I’d gotten into as a rock guitar player. 當時我就弄了TB-303跟TR-606鼓合成器帶著巡迴，這是全新的創作方式，這跟上音樂學校很像，它讓我重新思考並且以不同的角度看待音樂。但這之間的磨合至少花了一年，就剛好在巡迴結束後，我終於上手了。於是我就開始一口氣做了很多作品。我當時不在乎我該做什麼或是表達什麼，或是要怎麼跟別人合作。我很開心可以隨意做一些簡單的迷幻曲調。我真的很享受去做這些跳脫過去我身為搖滾吉他手的習慣與舒適圈的事情。 Would you consider performing your new music, even for a small crowd? 你會考慮現場演出你的新作品嗎？就算是一小群人也好？ No, I have no interest in playing live. I really don’t think of myself as a performer anymore. It was never something that came naturally to me. It was something that I adapted to, but it was never really an expression of who I was. [...] I’m not a performer. I don’t appreciate the effect that audiences have on me, because for me music is something that comes from inside of me. And music is something that I immerse myself in, and when I’m in front of an audience, I can’t ignore my surroundings and I can’t ignore the way they make me feel. They make me feel good, the audiences. But then I find that I’m not so much reaching inside myself to create something, but I’ m more trying to meet with their expectations. And I’m trying to do something that’s entertaining to them. And that’s just not me. I’m not interested in meeting people’s expectations and I’m not interested in pleasing people. 不會，我不想做現場演出。我不再視自己為一個表演者了。這對我來說一向都不太自然，這是我需要去適應與調適的事情，這從來就不是我的詮釋方式之一。我不是一個表演家，我也不想念那些觀眾帶給我的影響，因為音樂是一種發自我體內的東西。是我想要沉浸其中的東西。而當我站在觀眾面前時，我無法忽視周遭的氛圍，我也無法忽略他們帶給我的感受。他們確實讓我感覺很棒，我就會越想去迎合他們的期望，去娛樂他們，這樣卻讓我離我體內自己越來越遠。這樣不是我，所以我不想再迎合眾人的期盼，也不想再去取悅別人。 (編按：不少樂迷似乎就是對這段覺得很傷感。因為John已經對演出、對觀眾不再感興趣。但，John一直都是這樣的人啊，不是嗎XD 或許是會覺得遺憾，但這是意料之中吧。 John提到，音樂對他而言是發自他體內的東西，是一種，應該說有點私人的自我探索的過程。但是觀眾的存在卻會干擾這個儀式。) I’m glad I did it successfully for so long, but when it comes down to it I probably have a lot more in common with old classical composers from the 1700s than I do with the rock stars of today, you know? I think more in terms of creating a full composition, and that’s really what makes me happy to be alive and excited to live every day, is the ability to create from scratch an entire piece of music. I’m more comfortable doing that than I ever was doing anything. It makes me happier than playing the guitar did. And so, entertaining people, I just don’t think it’s my bag, you know? 我很高興這麼多年來我成功地做到這件事，但我現在只用合成器創作而非當一個搖滾巨星。我想現在的創作更讓我覺得活著真好，並且興奮地迎接每一天。現在帶給我的快樂遠多過於彈吉他。所以娛樂觀眾實在不在我的考慮之中了。 What other music will you make this year? 接下來這一年你打算製作什麼樣的音樂？ For the last six months, I only make hip-hop now. But it’s been a year that I’ve been working with these artists called Black Knights. And we’ve had a really successful collaboration. [...] Due to technology, we have a musical relationship in which nobody tells anybody what to do, nobody restricts anybody, nobody argues with anybody. 接下來六個月我會專心做嘻哈。但其實已經跟Black Knights合作一年了。 My job is making the music, their job is rapping, and we don’t get in each other’s way at all. We all want to hear the same record, is how I think of it. [...] I wouldn’t be any happier if I had, like, Ice Cube or Ol’ Dirty Bastard. I love their raps as much as I love any of the rapping on old records that I love. It’s the music that I want to hear, and I can go in any direction that I want with it. The rules of hip-hop are really pleasing for me and they allow me to be completely free. 我負責音樂，他們就負責饒舌，我們不會打亂彼此。我們有相同的創作方向。如果之後可以跟Ice Cube、Ol’ Dirty Bastard合作就更開心了！我喜歡他們的饒舌歌，就像我喜歡那些經典的饒舌專輯一樣。這是我想聽的音樂，我可以從任何面向切入。嘻哈的原則很適用於我，它們讓我有完全的自由。 Hip-hop, like rock music, it can absorb any style. And I think it can do so even better than rock music can. And so I can make it synthpop, I can make it totally abstract and weird stuff, I can make it purely sound with no melody, I can make it rock, I can make it whatever I want. It’s the form of music where I can be completely free. My main interest is in polyrhythms and grooves and sound. And that’s another reason I would never be in a rock band. Because in a rock band you have to attend to pitch and rhythm. But in these modern times with musical technology being what it is, we have the gift of being able to attend to sound and the details of rhythm. 嘻哈就像搖滾樂，他可以融合許多音樂類型，但我認為它所能做的遠比搖滾樂更多。我可以做成合成式流行風，也可以搞怪，甚至也可以完全沒有旋律，也能搖滾，我能隨我所欲。這是讓我感覺到全然自由的曲風。我專注在多旋律、節奏與聲音上，這就是我為什麼不會再重回搖滾樂團的原因。因為在搖滾樂團中，你必須處理音調與節拍。但在這個時代，擁有這些音樂科技，我們就可以掌握更細節的部分。 When you’re in a band you tell the drummer, “I want this kind of beat,” or something. But with technology I can actually make exactly the beat that I want to make, that grooves and slows down and speeds up exactly how I want it to, exactly conforming to my imagination, not just like a sort of a copy of my imagination or an interpretation of my imagination. It’s actually what I’m hearing in my head is what’s coming out the speakers. So making hip-hop, this is like the funnest musical collaboration I’ve ever had with anybody in my life. And it’s the purest. 在一個樂團中，你只能告訴鼓手："我想要這樣的節拍" 但是現在我可以自己就做到我想要的節拍，各種細節都如我所願，而不是對我想像的模仿或轉譯。我可以把我腦中的聲音透過喇叭呈現出來。所以創作嘻哈是我這一生中最有趣的音樂合作模式，也是最純粹的。 -- ※ 發信站: 批踢踢實業坊(ptt.cc) ◆ From: 61.219.91.55 ※ 編輯: nosweating 來自: 61.219.91.55 (08/21 07:27)